The meaning "a part cut off or separated from the rest" is from early 15c. That of "a drawing representing something as if cut through" is from 1660s. From 1550s in English in the meaning "act of cutting or dividing," a sense now rare or archaic and preserved in some medical phrases, most notably Caesarian section. The meaning "a subdivision of a written work, statute, etc." is from 1570s. sexus in Charles du Fresne du Cange’s Glossarium Mediæ et Infimæ Latinitatis (augmented edition with additions by D. P. Carpenterius, Adelungius and others, edited by Léopold Favre, 1883–1887) late 14c., seccioun, in astronomy, "the intersection of two straight lines; a division of a scale;" from Old French section and directly from Latin sectionem (nominative sectio) "a cutting, cutting off, division," noun of action from past-participle stem of secare"to cut" (from PIE root *sek-"to cut"). Arthur Hoyle, The Unknown Henry Miller: A Seeker in Big Sur, New York: Arcade Publishing, 2014, pp. 246, 253. Genus kommt aus dem Lateinischen und hat dort die Bedeutung „Art, Rasse“. Hätte man die Genera des Deutschen nicht als „männlich, weiblich, sächlich“ benannt, sondern als „a, b, c“, „1, 2, 0“ oder sonstwie, würden wir wahrscheinlich gar nicht um das generische Maskulinum streiten und die Aktivistin Luise F. Pusch würde nicht behaupten, Deutsch sei eine „ Männersprache“, die nach Ansicht von Senta Trömel-Plötz in eine „ Frauensprache“ umgewandelt werden müsse.

the sex"여성성, 여성" (1580년대)을 의미한다. "성교" ( have sex)의 의미는 1906년에 등장했으며, "생성의 연기"로 추정되며 아마도 더 오래되었다. Sex symbol는 1871년에 인류학에서 처음 사용된 것으로 보인다. 이 용어가 적용된 첫 번째 사람은 Marilyn Monroe (1959)인 것 같다. Sex-kitten은 1954년에 등장했다 (Brigitte Bardot). Sex object은 1901년에 심리학에서 처음 사용되었으며, sex appeal은 1904년에 등장했다. For the raw sex appeal of the burlesque "shows" there is no defense, either. These "shows" should be under official supervision, at the least, and boys beneath the age of eighteen forbidden, perhaps, to attend their performance, just as we forbid the sale of liquors to minors. [Walter Prichard Eaton, "At the New Theatre and Others: The American Stage, Its Problems and Performances," Boston, 1910] 버레스크 "쇼"의 성적 매력에 대해서는 변명할 수 없다. 이러한 "쇼"는 적어도 공식적인 감독 아래에 있어야 하며, 18세 미만의 소년들은 그들의 공연에 참석하는 것을 금지해야 한다. 우리가 미성년자에게 술을 판매하는 것을 금지하는 것처럼 말이다. [월터 프리차드 이튼, "뉴 극장과 기타: 미국 무대, 그 문제와 공연," 보스턴, 1910] The Rosy Crucifixion, a trilogy consisting of Sexus, Plexus, and Nexus, is a fictionalized account documenting the six-year period of Henry Miller's life in Brooklyn as he falls for his second wife June and struggles to become a writer, leading up to his initial departure for Paris in 1928. The title comes from a sentence near the end of Miller's Tropic of Capricorn: "All my Calvaries were rosy crucifixions, pseudo-tragedies to keep the fires of hell burning brightly for the real sinners who are in danger of being forgotten." [1] Sexus [ edit ]

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secus? [Michiel de Vaan, "Etymological Dictionary of Latin and the other Italic Languages," Leiden, 2008] The meaning "quality or character of being either male or female" with reference to animals is recorded by 1520s; by 19c. this meant especially "the anatomical distinction between male and female as evidenced by physical characteristics of their genital organs and the part taken by each in reproduction." Extended by 1560s to characteristics or structures in plants which correspond to sex in animals. Plexus (1953), the second volume, continues with the story of Miller's marriage to Mona, and covers Miller's attempts to become a writer after leaving his job at the Cosmodemonic Telegraph Company. It was first published in English in 1953 by Olympia Press as a two-volume set. [7] Nexus [ edit ] Es ist nicht nur der Artikel „ der“ („der“ Mensch), sondern vielmehr sein „böser“ Kern, das Suffix „ – er“.

Miller had in mind to write a second volume of Nexus, and made several attempts to complete it. It would have covered his time in France with Mona, their return to New York, and his return to Paris on his own, concluding with him writing the opening lines of Tropic of Cancer at 18 Villa Seurat. He made several attempts to write the book before ultimately abandoning the undertaking. [8] [9] A rough draft of the abandoned novel, Paris 1928 (Nexus II), an account of his 1928 trip to Paris with Mona, was first published in English in 2012. [10] Publication [ edit ] Das Genus-System der Sprachen habe ich an anderer Stelle bereits angesprochen. An dieser Stelle möchte ich nochmals auf die spezifische Funktion der Genera im Deutschen eingehen. Genus (Plural Genera) bezeichnet das grammatikalische Geschlecht, während Sexus das biologische Geschlecht bezeichnet. From Proto-Italic *seksus, from Proto-Indo-European *séksus, from *sek- ( “ to cut ” ), thus meaning “section, division” (into male and female).

Interessant ist die gegenderte Form von Mensch („Menschin[nen]“) oder Mitglied („Mitglieder:innen“) dennoch. Mit der gleichen Begründung (unbestimmter Sexus) könnte man auch „Kind“ gendern („Kindin“) oder „Person“ („Personin“). Aber warum tut man es hier nicht, wohl aber z.B. bei „Gast“ („Gästin“)? Sie ahnen es nach obigen Beispielen bereits. France Lifts Its Long Ban On Henry Miller's 'Sexus,'" New York Times, November 20, 1968. By subscription only. a b c Mary V. Dearborn, The Happiest Man Alive: A Biography of Henry Miller, New York: Simon & Schuster, 1991, p. 246.

Sexus (1949), the first volume, describes the break-up of Miller's first marriage to Maude as he meets, falls in love with and marries his second wife, the captivating and mysterious dancer Mona (June). All the while, he feels guilty for leaving Maude, and becomes more attracted to her following their divorce. At the beginning of Sexus, Miller is 33 years old. June is at first called Mara, but at the beginning of chapter 8, and for the remainder of the trilogy, her name is changed to Mona. Miller states that this is under the influence of his friend Dr. Kronski, and that the name change accompanied "other, more significant changes." She is one who has changed many details of her life: "her name, her birthplace, her mother, her upbringing, her friends, her tastes, even her desires." [2] The New York Times stated, "Miller uses licentious sex scenes to set the stage for his philosophical discussions of self, love, marriage and happiness." [3] For the raw sex appeal of the burlesque "shows" there is no defense, either. These "shows" should be under official supervision, at the least, and boys beneath the age of eighteen forbidden, perhaps, to attend their performance, just as we forbid the sale of liquors to minors. [Walter Prichard Eaton, "At the New Theatre and Others: The American Stage, Its Problems and Performances," Boston, 1910] Miller's close friend, author Lawrence Durrell, was severely disappointed in Sexus. In a letter dated September 5, 1949, he wrote that Miller was lost "in this shower of lavatory filth which no longer seems tonic and bracing, but just excrementitious and sad." [15]Trotzdem möchte ich zur Genus-Sexus-Beziehung hier auch eine Gegenstimme zu Wort kommen lassen. Die Sprachwissenschaftlerin Damaris Nübling verneint die Unabhängigkeit zwischen linguistischem Genus und biologischem Sexus und führt u.a. folgendes Beispiel an: Die meisten Menschen würden es so sehen, dass zwar eine Giraffe trächtig sein kann, nicht aber ein Löwe, für diese biologische Funktion muss die Form „Löwin“ herhalten. Ein „Löwe“ wird daher als männlich verstanden. Klingt plausibel, und ich widerspreche nicht. Nur möchte ich Frau Nübling entgegenhalten, was sich wohl die meisten Menschen, und sicher auch Frau Nübling selbst, unter einem Huhn vorstellen. Ich wette, dass es das Eier-legende Huhn ist, also die „Henne“ und nicht der „Hahn“, obwohl doch beide Hühner sind.